The present application relates to improvements to display layouts, and, more particularly, to improved color pixel arrangements and means of addressing used in displays.
The present state of the art of color single plane imaging matrix, for flat panel displays use the red-green-blue (RGB) color triad or a single color in a vertical stripe (i.e. “RGB stripe”) as shown in prior art FIG. 1. FIG. 1 shows a prior art arrangement 10 having several three-color pixel elements with red emitters (or sub-pixels) 14, blue emitters 16, and green emitters 12. The arrangement takes advantage of the Von Bezold effect by separating the three colors and placing equal spatial frequency weight on each color. However, this panel suffers because of inadequate attention to how human vision operates. These types of panels are a poor match to human vision.
Full color perception is produced in the eye by three-color receptor nerve cell types called cones. The three types are sensitive to different wavelengths of light: long, medium, and short (“red”, “green”, and “blue”, respectively). The relative density of the three differs significantly from one another. There are slightly more red receptors than green receptors. There are very few blue receptors compared to red or green receptors.
The human vision system processes the information detected by the eye in several perceptual channels: luminance, chromanance, and motion. Motion is only important for flicker threshold to the imaging system designer. The luminance channel takes the input from only the red and green receptors. In other words, the luminance channel is “color blind”. It processes the information in such a manner that the contrast of edges is enhanced. The chromanance channel does not have edge contrast enhancement. Since the luminance channel uses and enhances every red and green receptor, the resolution of the luminance channel is several times higher than the chromanance channels. Consequently, the blue receptor contribution to luminance perception is negligible. The luminance channel thus acts as a resolution band pass filter. Its peak response is at 35 cycles per degree (cycles/°). It limits the response at 0 cycles/° and at 50 cycles/° in the horizontal and vertical axis. This means that the luminance channel can only tell the relative brightness between two areas within the field of view. It cannot tell the absolute brightness. Further, if any detail is finer than 50 cycles/°, it simply blends together. The limit in the diagonal axes is significantly lower.
The chromanance channel is further subdivided into two sub-channels, to allow us to see full color. These channels are quite different from the luminance channel, acting as low pass filters. One can always tell what color an object is, no matter how big it is in our field of view. The red/green chromanance sub-channel resolution limit is at 8 cycles/°, while the yellow/blue chromanance sub-channel resolution limit is at 4 cycles/°. Thus, the error introduced by lowering the blue resolution by one octave will be barely noticeable by the most perceptive viewer, if at all, as experiments at Xerox and NASA, Ames Research Center (see, e.g., R. Martin, J. Gille, J. Larimer, Detectability of Reduced Blue Pixel Count in Projection Displays, SID Digest 1993) have demonstrated.
The luminance channel determines image details by analyzing the spatial frequency Fourier transform components. From signal theory, any given signal can be represented as the summation of a series of sine waves of varying amplitude and frequency. The process of teasing out, mathematically, these sine-wave-components of a given signal is called a Fourier Transform. The human vision system responds to these sine-wave-components in the two-dimensional image signal.
Color perception is influenced by a process called “assimilation” or the Von Bezold color blending effect. This is what allows separate color pixels (also known as sub-pixels or emitters) of a display to be perceived as a mixed color. This blending effect happens over a given angular distance in the field of view. Because of the relatively scarce blue receptors, this blending happens over a greater angle for blue than for red or green. This distance is approximately 0.25° for blue, while for red or green it is approximately 0.12°. At a viewing distance of twelve inches, 0.25° subtends 50 mils (1,270μ) on a display. Thus, if the blue pixel pitch is less than half (625μ) of this blending pitch, the colors will blend without loss of picture quality. This blending effect is directly related to the chromanance sub-channel resolution limits described above. Below the resolution limit, one sees separate colors, above the resolution limit, one sees the combined color.
Examining the conventional RGB stripe display in prior art FIG. 1, the design assumes that all three colors have the same resolution. The design also assumes that the luminance information and the chromanance information have the same spatial resolution. Further, keeping in mind that the blue sub-pixel is not perceived by the human luminance channel and is therefore seen as a black dot, and since the blue sub-pixel is aligned in stripes, the human viewer sees vertical black lines on the screen as shown in FIG. 2. If the image displayed has large areas of white space, such as when displaying black text on a white background, these dark blue stripes are viewed as a distracting screen artifact. Typical higher resolution prior art displays have pixel densities of 90 pixels per inch. At an average viewing distance of 18 inches, this represents approximately 28 pixels per degree or approximately 14 cycles/°, when showing lines and spaces at the highest Modulation Transfer Function (MTF) allowed by the display. However, what the luminance channel sees is an approximately 28 cycles/° signal horizontally across a white image when considering that the blue sub-pixel 12 is dark compared to the red 14 and green 16 emitters, as shown in prior art FIG. 2. This 28 cycles/° artifact is closer to the peak luminance channel response spatial frequency, 35 cycles/°, than the desired image signal, 14 cycles/°, thus competing for the viewer's attention.
Thus, the above prior art arrangement of three-color emitters is a poor match for human vision.